Aesthetics of Silence by Susan Sontag

By Susan Sontag

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After midnight refreshments Gurdjieff was questioned about how he financed his Institute 72 Biographer James Moore gives the commencement date for Meetings as 1928, though researchers Thomas C. G. Daly, using the de Hartmann archives, argue for 1927. Moore, Gurdjieff The Anatomy of a Myth, 330; Thomas C. G. Daly, “Chronology,” in Our Life with Mr. Gurdjieff (London: Arkana Penguin Books, 1992), 269. 73 Driscoll and Gurdjieff Foundation of California, Gurdjieff: An Annotated Bibliography, 3. 74 See Carole M.

The shock of the First World War on European life and culture gave rise to ideas of self-fragmentation and discontinuity, challenging earlier notions of the self as integral and coherent. ”60 Further challenging earlier notions of the self as integral were the rise of industrialisation, which generated feelings of alienation and fragmentation in society and industry; the fragmentation of the classical atom into its mysterious parts; and the rise of psychoanalysis with its concepts of neuroses, self-deception, self-conflict, and multiple personalities, sparked by Sigmund Freud’s (1856–1939) division of consciousness into id, ego, and superego.

100 Ralph Locke, Musical Exoticism (Cambridge: Cambridge University Press, 2009), 185. 103 Gurdjieff may simply have liked the aria, though it is also possible that Olga’s renditions were meant to familiarise Gurdjieff’s pupils with the sounds of the East at times when it was not possible to hear more traditional Eastern sounds. Exoticism and Nationalism Although Gurdjieff distanced himself from the contemporary arts, the Gurdjieff/de Hartmann piano music is indicative of an important artistic trend of the early twentieth century: exoticism.

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